TWENTY LESSONS FOR: M 'i’j Music Pupils I HAMILTON C. MACDOUGALL, PUBLISHED BY Hatch Music Company PHILADELPHIA. COPYRIGHT, MDCCCXCVII, BY HATCH MUSIC COMPANY . PRIMER OF EYE TRAINING Fifty Oral and Written Exercises for Young Music Students By M. S. MORRIS As its name implies, is intended to teach beginners and slow readers of any grade to read the notes accurately and in very much less time than by the old method. By this method the eye is trained to grasp a passage in its entirety and the matter of reading at sight and memorizing is very largely simplified, and of still more importance, the student's mental grasp of the musical contents of a passage is made more certain. Although it is not necessary to write all of the exercises, nevertheless the design of the book is to have most of them copied on music paper, as the art of writing the different signs is a valuable practice in eye training. The subjects treated are Notation, Time, Scales, Chords and Intervals, the chords includ- ing triads, dominant and diminished sevenths. The book is not intended for a work on theory, and gives only so much of the latter as may be necessary in understanding the major and minor keys, and in playing scales and chords intelligently. It fills a want entirely peculiar and needed , and is adapted not only for use in the study of any musical instrument, but for the voice also. PRICE 25 CENTS CHILDREN’S MUSIC WRITING PAD Size 5% x 8% inches 50 Sheets to Pad Ruled with very wide — spaced lines. Five staves to sheet, suitable for pen or pencil. The best and only real Children’s Music Writing Pad Tiade. PRICE 10 CENTS NET PER DOZEN, $1.00 NET iso.t M Kt Preface Where the practical requirements are so unyielding as they are in the case of a Writing and Ear-training Primer, it is difficult to arrange the matter under any scheme that approaches the scientific. In dividing the book into sections corresponding to the two great qualities of musical sound, viz. length and pitch (the divisions of quality a id intensity not coming under the province of an elementary treatise) it is hoped that the subject is developed in a logical order unattainable in other ways. The ear-exercises are thoroughly practical, and are thrown forward in the hope that teachers will invent others like them, and carry the pupil on to the power of real discrimination as regards pitch and rhythm. Such exercises are especially suitable for class work, yet are very effective in private teaching. Twenty Lessons in Writing and Ear-Training. (Manchester’s Music Tablet is recommended for use in this work.) WRITING EXERCISES. LESSON ONE. Length of Sounds. Time. 1. Write the following characters : J ? J , $ r I l L t on a staff eleven times, viz. : on each line, on each space, and on the spaces above and below the staff. For example : S>-&- 1 f - I . 3 t=t The stems of notes written below the middle of a staff must turn up. The stems of notes written above the middle of a staff, must turn down. The stems of notes written on the middle line may turn either way. A note in a space must have the head touch the line on either side, thus : id=, not A note on a line must have the head of the note exactly half way across. 2. Repeat Exercise 1, but in this way : : s: : etc. 3. 22— Write each of the following characters ^ ^ *1 5 & i ten times on the staff. With the exception of the first two characters which are placed upon the third space, the whole rest attached to the bottom of the fourth line, and the half rest touching the top of the third, they may be written anywhere on the staff, usually about the middle. ( 2 ) TWENTY LESSONS IN WRITING AND EAR-TRAINING. 3 Names of the Notes and Rests. r Whole. Half. J / Quarter. Eighth. 16th. 0 32d. j 3 V 64th. The breve y and 12Sth note, S with corresponding rests, are so rare as to need no reference in this work. LESSON TWO. 4. Go over the notes you have written in Exercises 1, 2 and 3, and write under each note and rest its name. Do not use fractions as \ for a half note, ^ for a sixteenth note ; but “ w ” for whole note, “ h 11 for half note, “ q 11 for quarter note, 8th for eighth note, etc. 5. Write on a staff ten sixty-fourth rests, ten half notes, ten eighth notes, ten thirty-second notes, ten eighth rests, ten quarter notes, ten sixty-fourth notes, twenty eighth rests, twenty quarter rests, ten sixteenth notes, twenty five whole rests, and twenty-five half rests. Make half the notes on the top line of the staff, and half on the bottom space. LESSON THREE. Relative Length of Notes. Following the direction of the arrow point, each note or rest is twice as long as the one which follows. 6. Write the following succession of notes four times on a staff ; then on the first space below the staff write directly under each note a note which shall be twice as long as the one above it. Write each note by itself, without reference to the notes before or after it. r — i s . s --s- i —ft — j-tn 1^ i fs ^ J i 1 IS2: U- 0 A f J (3? n . \ - : 19. The same : -i 1 1 f 2 - t=d=t±= -(2^-PX -f — '~ s & 6 TWENTY LESSONS IN WRITING AND EAR-TRAINING. LESSON SIX. 20. Copy Exercises 17, 18 and 19, but transpose the notes one line or space higher, as the case may be ; write below the notes their names with regard to “middle C.” 21. Copy Exercises 17, 18 and 19, transposing the notes one line or space lower, then proceed as before. LESSON SEVEN. 22. Copy the following, and give the letter-names as in Examples 17, 18 and 19. i f=2- m -e- -P- — -! — — 1 — } — ,-^-- 4 — & 23. The same : : 4=-# — _l |h , — V &-\ — I 1 — — 1 1 1 m t ■^=t' 3=EEF^ &- ±=t 24. The same If thought necessary, the abbreviation u 8va. v may be explained here. LESSON EIGHT. Accidentals, (Signs of Inflection. ) A sharp (ft) on a line or space makes the line or space stand for a pitch one semitone higher, a flat (b) for a pitch one semitone lower. A natural (if) restores a line or space to its former (uninflected) condition. The double sharp (JK), as its name indicates, stands for a pitch two semi- tones higher. A double flat (t>b) for a pitch two semitones lower. TWENTY LESSONS IN WRITING AND EAR-TRAINING. 7 In making the signs of inflection be careful to make the main part of the sign exactly in the space, or half on each side of the line as the case demands, thus : - f — k — n — , and -S - fc -5 — • . The Tie and Slur. '25. Copy example given below, and notice the curved lines. Observe whether the notes under or over them are of the same pitch. — -Q j j — o' o ~~ ‘/XT* V L tT — U t— 1 L_ L U 26. The same =T=t —~hrrl * H ^ M t==T= *- =t=ti= 27. Write under each curved line in above examples its name. If the notes under or over it are of the same pitch, it is a tie ; if not, it is a slur. If there are more than two notes it is a slur. 28. Copy the following and write underneath the name of the curved line. r ~jr — i i | | 1 1* 1 “I 1 | “1 ^ ' Hi) 2 ^ — & — J . hrW *-• m M * & 9 H i & LSUZ — - ^ -M- — u LESSON NINE. Rhythm, Time Signatures, Bar-Lines, Division Into Measures. Music as written upon the staff is divided into measures, the value of these measures is determined by the time signatures. These are figures in the form of fractions placed at the beginning of a piece to indicate the time. The upper figure tells the number of pulses in the measure, and the lower, the kind of note which represents one pulse. Thus \ as the time signature indicates two pulses in the measure, and one to each quarter note ; *, three pulses in the measure, one to each quarter ; four pulses in the measure, with the quarter note still the unit of value ; g, six pulses in the measure, with the eighth note as the unit of value. There are other less used time signatures which will be easily understood when seen. The note indicated by the lower figure as the unit of the measure regulates the relative length of all other notes in the piece. Thus if the quarter note is taken as the unit and equals one pulse, a half note would equal two pulses, a whole note four, and an eighth would be equal to but one half a pulse. The unit of value being thus known, the lengths of the notes can be readily calculated. 8 TWENTY LESSONS IN WRITING AND EAR-TRAINING. 29. Copy the following melodies and insert the bar-lines as shown by the accents, then add time signature. p^if^ifcr 4-1=te — 1 r ' r- H— t — £+-* * # 1 - r f «ah- 99 'Z5 1 Z^' ' W rzs a. • n , ~ n 1 ! ^ # J i 1 \ n I & 9 9 A J i n I 9 9 • u > > i J => o ImY f* || T rgr- r A I _ 1 ^ P 3 - LESSON TEN. 30. The same. Here two accents only are shown. 1 9 9 9 ^0. ■g-P-0-W 1 1 1 — 4 —*- !*-($> — -75— & i— 1 Divide this into eight measures. LESSON ELEVEN. Scales. Notice on the keyboard the difference between CJJ and Dtf, and between CJJ and D$. The latter distance is a whole tone, and the former, a semitone. On the keyboard the distance from any key to the next, whether black or white, is a semitone.* 31. Copy the following, and under each two notes write their distance in pitch from each other, thus : b £ 2 _ q — 3" i "i - ¥ z ^ : l T~f~b j~~ 1 CIT - ^ ^ Hz? -3 *»- i — t- Tone. Semitone. 32. The same : * Note to Teachers.— The expression “ semitone ” has been objected to. The word •• half-step” may be used if preferred, though it is very easy to show that it is not one whit more exact. TWENTY LESSONS IN WRITING AND EAR-TRAINING. o Writing the Scales. (From Grade II of the National Graded Course.) 33. Write the scale of C major, and mark between each two notes the distance, whether tone or semitone between them. n 1_ 2 3 4 5 6 7 8 Scale of C major : :=|: - 0 - -P~ We notice first that the notes ascend on the staff without skipping a line or space. The notes below are not the scale of C major. We also notice a semitone between three and four, seven and eight of the scale, and whole tones between two and three, four and five, five and six, six and seven. These things are true of all major scales. We will now write a scale, say A major. What is the first step? To write the notes in order on the staff without skipping lines or spaces, and to number the notes. 1 23 45 678 T & & & n 1 1 \~~A — ^ " tf X S’ & L V 7 What is the first note in the scale of A ? A. What is the second as we have it ? B. How far is B above A ? A whole tone. How far should the second tone be above the first? A whole tone. Then is B right for the second note ? Yes. What is the third note as we have it? C. How far is C above B ? A semitone. How far should the third tone be above the second ? A whole tone. Is C then right for the third note ? No. What is the matter with it ? It is a semitone too low. How can we raise it ? By putting a sharp before it thus : 1G TWENTY LESSONS IN WRITING AND EAR-TRAINING. I :Jf^= - 19 - 8 - 6 >- The same reasoning may be employed to the end of the scale. 1 2 3 4 5 6 7 Scale of Ab. m - 19 — fj What is the first note in the scale of Ab ? Ab. What is the second note as we have it? B. How far is B above Ab ? A tone and a half. How far should the second tone be above the first? A whole tone. Is B right then for the second note ? No. What is the matter with it ? It is a semitone too high. How can we lower it ? By placing a flat before it thus : 1 2 3 4 5 6 7 L 8 / i - ^ ^ n ry \/<9 r| 1 2 . U The same process of reasoning may be employed to the end of the scale. LESSON TWELVE. 34. Write the major scales beginning on C, D, E, F, G, A, B, Db, Eb, Gb, Ab, Bb, CJJ, F$. If the method of construction is not clear, follow out the questions and answers given above until the subject is understood. LESSON THIRTEEN. The Harmonic Minor Scale. 1 23 456 78 In the harmonic minor scale we have a semitone between two and! three, five and six, and seven and eight; between six and seven the inter- val is a tone and a half : the remaining intervals are whole tones. 35. Write the harmonic scale of O ten times, and mark the- distance in tone and semitone, between each two sounds. 36. Write out hamonic minor scales, beginning on C, D, E* F, G„ A, B, Cft Ffl, G8, Db, Eb, Ab, Bb, TWENTY LESSONS IN WRITING AND EAR-TRAINING. 11 LESSON FOURTEEN. Key Signatures. The major scale and the minor scale beginning on the sixth note of the major scale have the same signature. The harmonic and melodic scales have the same signature. 37. Copy the following signatures ten times, or until each one can be written from memory. -(jgjlT : -fcjOrfc 1 : — iE=d: -P- A - : 2r£— LESSON -FIFTEEN. 38. Write out the following signatures on the treble staff, viz. : one sharp, two flats, four sharps, six flats, two sharps, three flats, five sharps, seven flats, six sharps, one flat, three sharps, four flats, seven sharps, five flats. 39. Under each of the signatures written in Exercise 38 put its major and minor name, thus : LESSON SIXTEEN. 40. On the bass staff write the signatures of the following keys : G major, b minor, C# major, c minor, E? major, e minor, f minor, E major, Ab minor, Db major, B major, f# minor, g Minor, A major, FJJ major, d minor, D major, Bt> minor, Bb major, Eb minor, F major, Ab major, Gt> major, f# minor. 41. The same on the treble staff. LESSON SEVENTEEN. The Melodic Minor Scale. 1 23456 787 £ 4 3 2 1 C melodic minor TWENTY LESSONS IN WRITING AND EAR-TRAINING. 12 In the melodic minor scale, semitones occur between two and three, and seven and eight, when ascending : in descending, the semitones will be found between five and six, and two and three. Between the other degrees are whole tones. 42. Write the melodic scale of C ascending and descending ten times, and mark between each two notes the distance (whether tone or semitone) apart. The melodic minor scales may now be constructed, but it is recommended that they be deferred for some months if the pupil is not already somewhat acquainted with them. LESSON EIGHTEEN. More Difficult Exercises. Three notes, marked usually , are compressed into the time of two of the same kind ; such a group is called a triplet. Other irregu- larities of the same kind occur, such as four notes for three (a quadruplet); five for four (a quintuplet); six for four (a se^tolet), and sometimes less than the full number of notes, as two for three. 43. Complete the measures that are not full by adding one note ; copy and add the time signatures. 44. In the case of incomplete measures, add one rest that shall fill them ; copy and add the time signatures. LESSON NINETEEN. 45. Write four measures (using only the first C above “ middle C n for the note) in ® and \ time. Be careful that the accented note is of the same length or longer than the notes following, rather than shorter, thus : Not, o r • fl 0 | i# • * 0 0 .£2 r..« 9 ■ 0 a \ r r i =3 t t=l Eit tr"t= — 1 — l — 1 L V I — : There is no intention of barring out syncopated rhythms, but rather to show the pupil normal types. TWENTY LESSONS IN WRITING AND EAR-TRAINING. 13 LESSON TWENTY. 46. Copy this, mark the places where the arrangement of notes is not good, and correct it. n 0 0 0 • 0 - 0 . 0 - 0 ( 2 . 0 0 0 *_u O , 1 i , i i i , I D i u H -Z5 — 1 — = 4 = -LJ — 1 — 4 — U— 1 — -4 i- — U — 'J- — 6 47. Add the time signatures to the following measures : 48. Correct any errors there may be in the following time signatures. x* ' q r n ■ o =n - m SJ . i i rm \\- ? *-*-* * * u 1 *• «- * 0 - -n_t=4=4= ..T i=_J= l J.5_l 1 ! 1 1 -Q-U y y Jj±_| — ^11 EAR EXERCISES. These exercises may be started upon as soon as the pupil has written the first few lessons in the primer. The manner of teaching is as follows : The teacher sounds the first large note, and tells the pupil it is the first tone of the scale. The teacher then plays the second large note, and asks the pupil what its number in the scale is ; if, after repeated trials, the pupil cannot tell, the teacher will play the first large note again, following it with the small notes leading up to the second large note. After awhile the pupil will get the power of bridging over the space without the help of the actual sounds. Of course the pupil sits where he cannot see the keyboard. 14 TWENTY LESSONS IN WRITING AND EAR-TRAINING. After the pupil can recognize the various sounds within the diatonic scale by ear, the following simple tunes may be played over to him. The teacher strikes the key-note, then proceeds to play the tune several times over with a marked accent on the first beat of the measure, until the pupil has the notes (written all as whole notes) down. The pupil will then, while the teacher plays the tune several times more, notice the accents and place the bar-lines. The time signature next follows. Thus exercise 51 would probably be worked out by the pupil as follows : Teacher strikes die C.” and tells pupil it is the key-note, “mid- Teacher now plays the tune over eight or ten times, or more. First stage : ' 5 ==S3^^, Second stage: : I e= Third stage: t He finds the second to seventh notes are all the same length ; lie chooses to call them quarter notes, they might have been any other Fourth stage: : £ fj :=|: I 8 If he had written eighths instead of quarters, the result would have been as below : i — ^ L> A £ A. \ □ j A l_ w M J _J 9 * * ' • # J TWENTY LESSONS IN WRITING AND EAR-TRAINING. 15 60 . 16 TWENTY LESSONS IN WRITING AND EAR-TRAINING. 61 . 1 # _ ^ ^ 2? r | i - - - | Z—m m j i r ! - « p i r L_L_ w 9 — a L 1 L 1 L 0- J s 62 . # * #-* -1 — F- # =— 1 — 1 — p^grf r :^&=±===^=tz=^=: ' \ — r — f u-i— __l — y— J — 63 . t=c p~0 #* t=t 64 . ■ p — x | " ~ 1 , 1 " ~] ' Z | J — • — — 1 J- — H — 1 H— -J 1- H — — __j :k e ^ • # #- — 1 — — #— # # —& — 65 . FT=^ :# # # — 1 1 - -# — 1 1 \ :z F 7 h h,r~H * • 3 — -U+-U -^—4- .|— 0-^-0- 66 . " j “ vV 3 m m tf ^ J f/" yi W _ * — m \ ._q. Z±fc w L 1 ! j *-»y. 67 . — r =p=£t= =Ptfc -s-rf-s-- -rjd" —J K , "1 | f“ | I :# r ^: -F — l — F F # aj :t=^t=:=t=p- -0~ 1 L^l— iJ N.B.— Sharps and flats better be written as they occur, and not as a signature. NOTE SPELLING LESSONS FOR BEGINNERS IN MUSIC BY M. S. MORRIS A Systematic Method for Teaching Music Pupils to Read Rapidly A Notation Book for beginners, and on account of the variety of the exercises is not only instructive but interesting, and has an element of diversion and amusement that will ap- peal to every young student. There are 48 words which are to be spelled by writing on the staff, the notes corresponding to the letters in the words, such as “age,” “feed,” etc., and these are to be written in the differ- ent positions of the bass and treble staves, the corresponding keys on the piano to be struck also. After being written, each exer- cise is followed by an incorrect one, to be examined and cor- rected by the pupil, thus insuring concentration and attention. Dictation also is to be given, making the book valuable for class or individual work. The last exercise in the book consists of a little story entitled , “ Concerning John,” in which the 48 words that have been writ- ten in all the different positions occur in notes, and the effort to read these correctly, in order to make sense of the story, proves an excellent drill in skipping in the different positions, and from one clef to the other. Although intended for beginners, advanced pupils who are slow readers will find benefit in the systematic arrangement of the exercises. PRICE 35 CENTS PUPIL'S MUSIC WRITING BOOK Size 7x8 inches. 32 pages. 6 staves, with wide spaces. The demand for a good and cheap Music Writing Book has been the incentive for producing the above book. It in- cludes also the Elements of Music and Practical Instructions for music writing. Made of good quality bond paper suit- able for pen or pencil, and substantially bound— with special line on cover for pupil’s name. PRICE 10 CENTS PER DOZEN CENTS NET National Graded Course Commences at the Beginning and Covers the Entire Field of Piano Literature It Adapts Itself to all Systems of Technic and Styles of Performance NATIONAL GRADED COURSE is the latest. We have been able to take advantage of the newest publications and of all advances made in the art and practice of music teaching up to the present time. NATIONAL GRADED COURSE is practically and most carefully graded, both as regards the order of succession of the various studies an